Wednesday, December 2, 2009
law in photography
Photography is both restricted and protected by the law in many jurisdictions. Protection of photographs is typically achieved through the granting of copyright or moral rights to the photographer. In the UK a recent law (Counter-Terrorism Act 2008) increases the power of the police to prevent persons, even press photographers, from taking pictures in public places
social and cultural implications of photography
There are many ongoing questions about different aspects of photography. In her writing "On Photography" (1977), Susan Sontag discusses concerns about the objectivity of photography. This is a highly debated subject within the photographic community.[14] It has been concluded that photography is a subjective discipline "to photograph is to appropriate the thing photographed. It means putting one’s self into a certain relation to the world that feels like knowledge, and therefore like power."[15] Photographers decide what to take a photo of, what elements to exclude and what angle to frame the photo. Along with the context that a photograph is received in, photography is definitely a subjective form.
Modern photography has raised a number of concerns on its impact on society. In Alfred Hitchcock's Rear Window (1954), the camera is presented as a promoter of voyeuristic inhibitions. 'Although the camera is an observation station, the act of photographing is more than passive observing'.[15] Michal Powell's Peeping Tom (1960) portrays the camera as both sexual and sadistically violent technology that literally kills in this picture and at the same time captures images of the pain and anguish evident on the faces of the female victims.[citation needed]
"The camera doesn't rape or even possess, though it may presume, intrude, trespass, distort, exploit, and, at the farthest reach of metaphor, assassinate - all activities that, unlike the sexual push and shove, can be conducted from a distance, and with some detachment."[15]
Photography is one of the new media forms that changes perception and changes the structure of society.[16] Further unease has been caused around cameras in regards to desensitization. Fears that disturbing or explicit images are widely accessible to children and society at large have been raised. Particularly, photos of war and pornography are causing a stir. Sontag is concerned that "to photograph is to turn people into objects that can be symbolically possessed." Desensitization discussion goes hand in hand with debates about censored images. Sontag writes of her concern that the ability to censor pictures means the photographer has the ability to construct reality.[15]
One of the practices through which photography constitutes society is tourism. Tourism and photography combine to create a "tourist gaze"[17] in which local inhabitants are positioned and defined by the camera lens. However, it has also been argued that there exists a "reverse gaze"[18] through which indigenous photographees can position the tourist photographer as a shallow consumer of images.
Modern photography has raised a number of concerns on its impact on society. In Alfred Hitchcock's Rear Window (1954), the camera is presented as a promoter of voyeuristic inhibitions. 'Although the camera is an observation station, the act of photographing is more than passive observing'.[15] Michal Powell's Peeping Tom (1960) portrays the camera as both sexual and sadistically violent technology that literally kills in this picture and at the same time captures images of the pain and anguish evident on the faces of the female victims.[citation needed]
"The camera doesn't rape or even possess, though it may presume, intrude, trespass, distort, exploit, and, at the farthest reach of metaphor, assassinate - all activities that, unlike the sexual push and shove, can be conducted from a distance, and with some detachment."[15]
Photography is one of the new media forms that changes perception and changes the structure of society.[16] Further unease has been caused around cameras in regards to desensitization. Fears that disturbing or explicit images are widely accessible to children and society at large have been raised. Particularly, photos of war and pornography are causing a stir. Sontag is concerned that "to photograph is to turn people into objects that can be symbolically possessed." Desensitization discussion goes hand in hand with debates about censored images. Sontag writes of her concern that the ability to censor pictures means the photographer has the ability to construct reality.[15]
One of the practices through which photography constitutes society is tourism. Tourism and photography combine to create a "tourist gaze"[17] in which local inhabitants are positioned and defined by the camera lens. However, it has also been argued that there exists a "reverse gaze"[18] through which indigenous photographees can position the tourist photographer as a shallow consumer of images.
scientific photography
The camera has a long and distinguished history as a means of recording phenomena from the first use by Daguerre and Fox-Talbot, such as astronomical events (eclipses for example), small creatures and plants when the camera was attached to the eyepiece of microscopes (in photomicroscopy) and for macro photography of larger specimens. The camera also proved useful in recording crime scenes and the scenes of accidents, such as the Wootton bridge collapse in 1861 and the Staplehurst rail crash of 1865. One of the first systematic applications occurred at the scene of the Tay Rail Bridge disaster of 1879. The court, just a few days after the accident, ordered James Valentine of Dundee to record the scene using both long distance shots and close-ups of the debris. The set of over 50 accident photographs was used in the subsequent court of inquiry so that witnesses could identify pieces of the wreckage, and the technique is now commonplace both at accident scenes and subsequent cases in courts of law. The set of over 50 Tay bridge photographs are of very high quality, being made on a large plate camera with a small aperture and using fine grain emulsion film on a glass plate. When the surviving positive prints are scanned at high resolution, they can be enlarged to show details of the failed components such as broken cast iron lugs and the tie bars which failed to hold the towers in place. The set of original photographs is held at Dundee City Library. The photographs show that, in the words of the Public Inquiry the bridge was "badly designed, badly built and badly maintained". The methods used in analysing old photographs are collectively known as forensic photography.
Between 1846 and 1852 Charles Brooke invented a technology for the automatic registration of instruments by photography. These instruments included barometers, thermometers, psychrometers, and magnetometers, which recorded their readings by means of an automated photographic process.
5×7 in. unretouched photograph of the Wright brothers' first flight, 1903.Photography has become ubiquitous in recording events and data in science and engineering, and at crime scenes or accident scenes. The method has been much extended by using other wavelengths, such as infrared photography and ultraviolet photography, as well as spectroscopy. Those methods were first used in the Victorian era and developed much further since that time.
Between 1846 and 1852 Charles Brooke invented a technology for the automatic registration of instruments by photography. These instruments included barometers, thermometers, psychrometers, and magnetometers, which recorded their readings by means of an automated photographic process.
5×7 in. unretouched photograph of the Wright brothers' first flight, 1903.Photography has become ubiquitous in recording events and data in science and engineering, and at crime scenes or accident scenes. The method has been much extended by using other wavelengths, such as infrared photography and ultraviolet photography, as well as spectroscopy. Those methods were first used in the Victorian era and developed much further since that time.
art photography
During the twentieth century, both fine art photography and documentary photography became accepted by the English-speaking art world and the gallery system. In the United States, a handful of photographers, including Alfred Stieglitz, Edward Steichen, John Szarkowski, F. Holland Day, and Edward Weston, spent their lives advocating for photography as a fine art. At first, fine art photographers tried to imitate painting styles. This movement is called Pictorialism, often using soft focus for a dreamy, 'romantic' look. In reaction to that, Weston, Ansel Adams, and others formed the Group f/64 to advocate 'straight photography', the photograph as a (sharply focused) thing in itself and not an imitation of something else.
The aesthetics of photography is a matter that continues to be discussed regularly, especially in artistic circles. Many artists argued that photography was the mechanical reproduction of an image. If photography is authentically art, then photography in the context of art would need redefinition, such as determining what component of a photograph makes it beautiful to the viewer. The controversy began with the earliest images "written with light"; Nicéphore Niépce, Louis Daguerre, and others among the very earliest photographers were met with acclaim, but some questioned if their work met the definitions and purposes of art.
Clive Bell in his classic essay Art states that only "significant form" can distinguish art from what is not art.
There must be some one quality without which a work of art cannot exist; possessing which, in the least degree, no work is altogether worthless. What is this quality? What quality is shared by all objects that provoke our aesthetic emotions? What quality is common to Sta. Sophia and the windows at Chartres, Mexican sculpture, a Persian bowl, Chinese carpets, Giotto's frescoes at Padua, and the masterpieces of Poussin, Piero della Francesca, and Cezanne? Only one answer seems possible - significant form. In each, lines and colors combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions.
—[13]
On February 14 2006 Sotheby’s London sold the 2001 photograph "99 Cent II Diptychon" for an unprecedented $3,346,456 to an anonymous bidder making it the most expensive of all time.
Conceptual photography
Photography that turns a concept or idea into a photograph. Even though what is depicted in the photographs are real objects, the subject is strictly abstract.
The aesthetics of photography is a matter that continues to be discussed regularly, especially in artistic circles. Many artists argued that photography was the mechanical reproduction of an image. If photography is authentically art, then photography in the context of art would need redefinition, such as determining what component of a photograph makes it beautiful to the viewer. The controversy began with the earliest images "written with light"; Nicéphore Niépce, Louis Daguerre, and others among the very earliest photographers were met with acclaim, but some questioned if their work met the definitions and purposes of art.
Clive Bell in his classic essay Art states that only "significant form" can distinguish art from what is not art.
There must be some one quality without which a work of art cannot exist; possessing which, in the least degree, no work is altogether worthless. What is this quality? What quality is shared by all objects that provoke our aesthetic emotions? What quality is common to Sta. Sophia and the windows at Chartres, Mexican sculpture, a Persian bowl, Chinese carpets, Giotto's frescoes at Padua, and the masterpieces of Poussin, Piero della Francesca, and Cezanne? Only one answer seems possible - significant form. In each, lines and colors combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions.
—[13]
On February 14 2006 Sotheby’s London sold the 2001 photograph "99 Cent II Diptychon" for an unprecedented $3,346,456 to an anonymous bidder making it the most expensive of all time.
Conceptual photography
Photography that turns a concept or idea into a photograph. Even though what is depicted in the photographs are real objects, the subject is strictly abstract.
commercial photography
Commercial photography is probably best defined as any photography for which the photographer is paid for images rather than works of art. In this light money could be paid for the subject of the photograph or the photograph itself. Wholesale, retail, and professional uses of photography would fall under this definition. The commercial photographic world could include:
Advertising photography: photographs made to illustrate and usually sell a service or product. These images, such as packshots, are generally done with an advertising agency, design firm or with an in-house corporate design team.
Fashion and glamour photography: This type of photography usually incorporates models. Fashion photography emphasizes the clothes or product, glamour emphasizes the model. Glamour photography is popular in advertising and in men's magazines. Models in glamour photography may be nude, but this is not always the case.
Crime Scene Photography: This type of photography consists of photographing scenes of crime such as robberies and murders. A black and white camera or an infrared camera may be used to capture specific details.
Still life photography usually depicts inanimate subject matter, typically commonplace objects which may be either natural or man-made.
Food photography can be used for editorial, packaging or advertising use. Food photography is similar to still life photography, but requires some special skills.
Editorial photography: photographs made to illustrate a story or idea within the context of a magazine. These are usually assigned by the magazine.
Photojournalism: this can be considered a subset of editorial photography. Photographs made in this context are accepted as a documentation of a news story.
Portrait and wedding photography: photographs made and sold directly to the end user of the images.
Landscape photography: photographs of different locations.
Wildlife photography that demonstrates life of the animals.
Photo sharing: publishing or transfer of a user's digital photos online.
Paparazzi
The market for photographic services demonstrates the aphorism "A picture is worth a thousand words", which has an interesting basis in the history of photography. Magazines and newspapers, companies putting up Web sites, advertising agencies and other groups pay for photography.
Many people take photographs for self-fulfillment or for commercial purposes. Organizations with a budget and a need for photography have several options: they can employ a photographer directly, organize a public competition, or obtain rights to stock photographs. Photo stock can be procured through traditional stock giants, such as Getty Images or Corbis; smaller microstock agencies, such as Fotolia; or web marketplaces, such as Cutcaster.
Advertising photography: photographs made to illustrate and usually sell a service or product. These images, such as packshots, are generally done with an advertising agency, design firm or with an in-house corporate design team.
Fashion and glamour photography: This type of photography usually incorporates models. Fashion photography emphasizes the clothes or product, glamour emphasizes the model. Glamour photography is popular in advertising and in men's magazines. Models in glamour photography may be nude, but this is not always the case.
Crime Scene Photography: This type of photography consists of photographing scenes of crime such as robberies and murders. A black and white camera or an infrared camera may be used to capture specific details.
Still life photography usually depicts inanimate subject matter, typically commonplace objects which may be either natural or man-made.
Food photography can be used for editorial, packaging or advertising use. Food photography is similar to still life photography, but requires some special skills.
Editorial photography: photographs made to illustrate a story or idea within the context of a magazine. These are usually assigned by the magazine.
Photojournalism: this can be considered a subset of editorial photography. Photographs made in this context are accepted as a documentation of a news story.
Portrait and wedding photography: photographs made and sold directly to the end user of the images.
Landscape photography: photographs of different locations.
Wildlife photography that demonstrates life of the animals.
Photo sharing: publishing or transfer of a user's digital photos online.
Paparazzi
The market for photographic services demonstrates the aphorism "A picture is worth a thousand words", which has an interesting basis in the history of photography. Magazines and newspapers, companies putting up Web sites, advertising agencies and other groups pay for photography.
Many people take photographs for self-fulfillment or for commercial purposes. Organizations with a budget and a need for photography have several options: they can employ a photographer directly, organize a public competition, or obtain rights to stock photographs. Photo stock can be procured through traditional stock giants, such as Getty Images or Corbis; smaller microstock agencies, such as Fotolia; or web marketplaces, such as Cutcaster.
Infrared , ultraviolet , full spectrum photography
Ultraviolet and infrared films have been available for many decades and employed in a variety of photographic avenues since the 1960s. New technological trends in digital photography have opened a new direction in full spectrum photography, where careful filtering choices across the ultraviolet, visible and infrared lead to new artistic visions.
Modified digital cameras can detect some ultraviolet, all of the visible and much of the near infrared spectrum, as most digital imaging sensors are sensitive from about 350 nm to 1000 nm. An off-the-shelf digital camera contains an infrared hot mirror filter that blocks most of the infrared and a bit of the ultraviolet that would otherwise be detected by the sensor, narrowing the accepted range from about 400 nm to 700 nm.[8] Replacing a hot mirror or infrared blocking filter with an infrared pass or a wide spectrally transmitting filter allows the camera to detect the wider spectrum light at greater sensitivity. Without the hot-mirror, the red, green and blue (or cyan, yellow and magenta) colored micro-filters placed over the sensor elements pass varying amounts of ultraviolet (blue window) and infrared (primarily red, and somewhat lesser the green and blue micro-filters).
Uses of full spectrum photography are for fine art photography, geology, forensics & law enforcement, and even some claimed use in ghost hunting.
Modified digital cameras can detect some ultraviolet, all of the visible and much of the near infrared spectrum, as most digital imaging sensors are sensitive from about 350 nm to 1000 nm. An off-the-shelf digital camera contains an infrared hot mirror filter that blocks most of the infrared and a bit of the ultraviolet that would otherwise be detected by the sensor, narrowing the accepted range from about 400 nm to 700 nm.[8] Replacing a hot mirror or infrared blocking filter with an infrared pass or a wide spectrally transmitting filter allows the camera to detect the wider spectrum light at greater sensitivity. Without the hot-mirror, the red, green and blue (or cyan, yellow and magenta) colored micro-filters placed over the sensor elements pass varying amounts of ultraviolet (blue window) and infrared (primarily red, and somewhat lesser the green and blue micro-filters).
Uses of full spectrum photography are for fine art photography, geology, forensics & law enforcement, and even some claimed use in ghost hunting.
color photography
Color photography was explored beginning in the mid 1800s. Early experiments in color could not fix the photograph and prevent the color from fading. The first permanent color photo was taken in 1861 by the physicist James Clerk Maxwell.
Early color photograph taken by Prokudin-Gorskii (1915).One of the early methods of taking color photos was to use three cameras. Each camera would have a color filter in front of the lens. This technique provides the photographer with the three basic channels required to recreate a color image in a darkroom or processing plant. Russian photographer Sergei Mikhailovich Prokudin-Gorskii developed another technique, with three color plates taken in quick succession.
Practical application of the technique was held back by the very limited color response of early film; however, in the early 1900s, following the work of photo-chemists such as H. W. Vogel, emulsions with adequate sensitivity to green and red light at last became available.
The first commercially succesful color process, the Autochrome, invented by the French Lumière brothers, reached the market in 1907. It was based on a 'screen-plate' filter made of dyed grains of potato starch, and was one of many additive color screen products available between the 1890s and the 1950s. A later example of the additive screen process was the German Agfacolor introduced in 1932. In 1935, American Kodak introduced the first modern ('integrated tri-pack') color film which was developed by two musicians Leopold Mannes and Leopold Godowsky ("Man" and "God") working with the Kodak Research Labs. It was Kodachrome, based on multiple layered silver gelatin emulsions that were each sensitized to one of the three additive colors--red, green, and blue. The cyan, magenta, and yellow dyes were created in those layers by adding color couplers during processing. This was followed in 1936 by Agfa's Agfacolor Neu. Unlike the Kodachrome tri-pack process, the color couplers in Agfacolor Neu were incorporated into the emulsion layers during manufacture, which greatly simplified the film processing. Most modern color films, except Kodachrome, use such incorporated-coupler techniques, though since the 1970s nearly all have used a technique developed by Kodak to accomplish this, rather than the original Agfa method. Instant color film was introduced by Polaroid in 1963.
Color photography may form images as a positive transparency, intended for use in a slide projector, or as color negatives intended for use in creating positive color enlargements on specially coated paper. The latter is now the most common form of film (non-digital) color photography owing to the introduction of automated photoprinting equipment.
Early color photograph taken by Prokudin-Gorskii (1915).One of the early methods of taking color photos was to use three cameras. Each camera would have a color filter in front of the lens. This technique provides the photographer with the three basic channels required to recreate a color image in a darkroom or processing plant. Russian photographer Sergei Mikhailovich Prokudin-Gorskii developed another technique, with three color plates taken in quick succession.
Practical application of the technique was held back by the very limited color response of early film; however, in the early 1900s, following the work of photo-chemists such as H. W. Vogel, emulsions with adequate sensitivity to green and red light at last became available.
The first commercially succesful color process, the Autochrome, invented by the French Lumière brothers, reached the market in 1907. It was based on a 'screen-plate' filter made of dyed grains of potato starch, and was one of many additive color screen products available between the 1890s and the 1950s. A later example of the additive screen process was the German Agfacolor introduced in 1932. In 1935, American Kodak introduced the first modern ('integrated tri-pack') color film which was developed by two musicians Leopold Mannes and Leopold Godowsky ("Man" and "God") working with the Kodak Research Labs. It was Kodachrome, based on multiple layered silver gelatin emulsions that were each sensitized to one of the three additive colors--red, green, and blue. The cyan, magenta, and yellow dyes were created in those layers by adding color couplers during processing. This was followed in 1936 by Agfa's Agfacolor Neu. Unlike the Kodachrome tri-pack process, the color couplers in Agfacolor Neu were incorporated into the emulsion layers during manufacture, which greatly simplified the film processing. Most modern color films, except Kodachrome, use such incorporated-coupler techniques, though since the 1970s nearly all have used a technique developed by Kodak to accomplish this, rather than the original Agfa method. Instant color film was introduced by Polaroid in 1963.
Color photography may form images as a positive transparency, intended for use in a slide projector, or as color negatives intended for use in creating positive color enlargements on specially coated paper. The latter is now the most common form of film (non-digital) color photography owing to the introduction of automated photoprinting equipment.
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